Recommendations based on "A Touch of Gold"

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Dandelion Wine is a 1957 semi-autobiographical novel by Ray Bradbury, taking place in the summer of 1928 in the fictional town of Green Town, Illinois — a pseudonym for Bradbury's childhood home of Waukegan, Illinois. The novel developed from the short story "Dandelion Wine" which appeared in the June 1953 issue of Gourmet magazine.

?In The Golem and the Jinni, a chance meeting between mythical beings takes readers on a dazzling journey through cultures in turn-of-the-century New York.Chava is a golem, a creature made of clay, brought to life to by a disgraced rabbi who dabbles in dark Kabbalistic magic and dies at sea on the voyage from Poland. Chava is unmoored and adrift as the ship arrives in New York harbor in 1899.Ahmad is a jinni, a being of fire born in the ancient Syrian desert, trapped in an old copper flask, and released in New York City, though still not entirely free.Ahmad and Chava become unlikely friends and soul mates with a mystical connection. Marvelous and compulsively readable, Helene Wecker's debut novel The Golem and the Jinni weaves strands of Yiddish and Middle Eastern literature, historical fiction and magical fable, into a wondrously inventive and unforgettable tale.

A stranger comes to the city of Mageia and challenges its inhabitants with a new kind of magic - a magic that restores innocence and faith.

In Abilene, Texas, in 1908, Art Atchison Aimesworth, boy inventor and world explorer, enlists the aid of his sister and best friend on a quest to discover the truth about the mysterious Easter Bunny.

Brian Attebery's "strategy of fantasy" include not only the writer's strategies for inventing believable impossibiltes, but also the reader's strategies for enjoying, challenging, and conspiring with the text. Drawing on a number of current literary theories (but avoiding most of their jargon), Attebery makes a case for fantasy as a significant movement within postmodern literature rather than as a simple exercise of nostalgia. Attebury examines recent and classic fantasies by Ursula K. Le Guin, John Crowley, J.R.R. Tolkien, Diana Wynne Jones, and Gene Wolfe, among others. In both its popular and postmodern incarnations, fantasic fiction exhibits a remarkable capacity for reinventing narrative concentions. Attebery shows how plots, characters, settings, storytelling frameworks, gender divisions, and references to cultural texts such as history and science are all called into question the moment the marvelous is admited into a story.

As further evidence of his family's bad fortune which they attribute to a curse on a distant relative, Stanley Yelnats is sent to a hellish correctional camp in the Texas desert where he finds his first real friend, a treasure, and a new sense of himself.

Frankie and his team love playing football. There's always time for a game. And now that they have their magical football they're playing against teams they never imagined! During a PE game with a difference, Frankie and his friends are transported to meet a giant, green woman - the Statue of Liberty! They also meet an American boy whose ambition of baseball victory is about to be dashed. Can they race through New York in time to help someone's sporting dream come true?

Who is Geronimo Stilton? That's me! I run a newspaper, but my true passion is writing tales of adventure. Here in New Mouse City, the capital of Mouse Island, my books are all bestsellers! My stories are full of fun - tastier than Swiss cheese and tangier than extra-sharp cheddar. They are whisker-licking-good stories, and that's a promise! Holey cheese, it was exciting! Thea, Trap, Benjamin and I were on the trail of the Ruby of Fire, a legendary gem hidden in the heart of the Amazon jungle. But our quest soon turned into a race against time. Some pretty nasty rodents were after that ruby! Could we keep the priceless stone from falling into the wrong paws?

Is Hitchcock a superficial, though brilliant, entertainer or a moralist? Do his films celebrate the ideal of romantic love or subvert it? In a new interpretation of the director's work, Richard Allen argues that Hitchcock orchestrates the narrative and stylistic idioms of popular cinema to at once celebrate and subvert the ideal of romance and to forge a distinctive worldview-the amoral outlook of the romantic ironist or aesthete. He describes in detail how Hitchcock's characteristic tone is achieved through a titillating combination of suspense and black humor that subverts the moral framework of the romantic thriller, and a meticulous approach to visual style that articulates the lure of human perversity even as the ideal of romance is being deliriously affirmed. Discussing more than thirty films from the director's English and American periods, Allen explores the filmmaker's adoption of the idioms of late romanticism, his orchestration of narrative point of view and suspense, and his distinctive visual strategies of aestheticism and expressionism and surrealism.